Shinto Scroll

can some one give me a list of holy books or writings from other religions?

I'm working on a webpage and i wanted to post links to all the online texts i could find. i think the first step to peace is understand each others faith. so far this is what i have
Tipitaka
Confucius
The Egyptian Book of the Dead
Zoroastrianism
African Religions
Taoism
Shinto
Tibetan
TaoDeChing
Bhagavad Gita
R.S.V.&Apocrypha
Vulgate bible
lost Bible Books
Tanakh
Torah
Nevi'im
Ketuvim
Lost books2
Qur'an
Islamway radio
Qur'an audio
Dead sea scrolls
Book of Mormon
in another question i posted i needed some one to help me. maybe point out spelling errors or any other mistakes i may have made. the host i use wont let me use spell check
my oringal question was removed because they said it was agest terms of service i didnt think asking for help was agesnt the terms

The Bible
2,039 million
32%

Islam
622 CE
Qur'an & Hadith
1,226 million
19%

Hinduism
1,500 BCE with truly ancient roots
Bhagavad-Gita, Upanishads & Rig Veda
828 million
13%

No religion at all
-
None
775 million
12%

Chinese folk rel.
270 BCE
None
390 million
6%

Buddhism
523 BCE
The Tripitaka & Sutras
364 million
6%

Tribal Animism Shamanism,
Prehistory
Oral tradition
232 million
4%

Atheists
No date
None
150 million
2%

New Age Religions.
Various
Various
103 million
2%

Sikhism
1500 CE
Guru Granth Sahib
23.8 million
1%

Judaism
Note 3
Torah, Tanach, & Talmud
14.5 million
1%

Spiritism

12.6 million
1%

Baha'i Faith
1863 CE
Alkitab Alaqdas
7.4 million
1%

Confucianism
520 BCE
Lun Yu
6.3 million
1%

Jainism
570 BCE
Siddhanta, Pakrit
4.3 million
1%

Zoroastrianism
600 to 6000 BCE
Avesta
2.7 million
1%

Shinto
500 CE
Kojiki, Nohon Shoki
2.7 million
1%

Taoism
550 BCE
Tao-te-Ching
2.7 million
1%

Other
Various
Various
1.1 million
1%

Wicca, and Witchcraft
800 BCE, 1940 CE
None
0.5 million
1%

 

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Zen Buddhism

An interesting but difficult problem is what place has the Zen Buddhism in Japanese culture. The answer to this question is especially difficult because Zen Buddhism is not and has not been the only religion of Japan, but during most of its long history in this land that has been closely linked with Shinto and Confucianism, so that even today, though officially separated Shinto, a large number of Japanese are Shinto, Confucian and Buddhist in one and the same time. Some authors speak of as the root Shinto, Confucianism as the branches and leaves, and Buddhism as flowers and fruits of the tree of civilization Japanese (Dumoulin and Heisig 45). This view is not entirely wrong, because it is true that, historically Shinto comes first, and that the organization of the legal and educational institutions Confucianism has played a leading role, and, finally, the main contribution of Buddhism is in the field of art, philosophy and religion. However, from art, philosophy and religion are not only the flower and fruit of a civilization, but also in turn become at the root and branches of the stage success, Buddhism has been a real part of the roots, branches, leaves, flowers and fruit of the tree of life in Japan. That is, its influence has been so profound that no aspect of Japanese life that has not changed greatly for it.
Among the major contributions made Japanese Buddhism to life we must place first, the fact that it has been a vehicle of superior civilization of the continent. This is true not only in its infancy in this land, when it so obviously was the means of bringing the richness of Korean culture and Chinese, but for the Tokugawa period, Buddhist monks and priests remains the primary means by which Japan kept in touch with the outside world (Eliot 112). The point can not be overstated, for just as real as the Christian missionaries from Europe and America were the apostles of a superior civilization to the backward nations of the world, so have often been the Buddhists in Japan of the messengers of progress and light. In a real sense, Buddhism has been the "Light of Asia", and perhaps not much of Asia has received so much by him as has Japan (Eliot 115). However, this does not mean that Japan would have remained in obscurity had it not been for the religion of Buddha. But Japan's history being what it was, is correct to say that Buddhism has been a determining factor, and that the sources of Japanese culture have been directly or indirectly, mainly Buddhists.
In the field of art, it is more correct to say that Zen Buddhism created certain branches of Japanese art that simply that influenced them. Thus, Japanese architecture, sculpture and painting are what they are, because the Zen Buddhism has made them so. Music and poetry have also been influential, although perhaps less so.
If the field of architecture to be removed from these pine-covered hills and valleys of the Buddhist temples, monasteries and flights of stone stairs leading to them, very little of grandeur or beauty is maintained. The average Japanese home seems to be a development of the primitive hut as a work of architecture can not claim a very high place. What makes it attractive, not just any property architecture, but cleanliness, neatness and simplicity of the interior, or may be its picturesque setting. The Shinto shrine, too, can not say very high rank, although the entrance of the shrine, Torii, can be considered a true masterpiece. But in reality it is only when we arrived at the Japanese Buddhist buildings architecture can make any claim.
In the field of sculpture in Japan is relatively much richer, and has many elements of Zen Buddhism. What exists in this art before the introduction of Zen Buddhism can be classified with raw clay figures produced by the most primitive peoples (Izutsu 54). It's amazing what a short real time masterpieces in bronze, clay and wood were produced. Largest bronze statue in the world belongs to the eighth-century Japanese Buddhism. It is true that this ranking is not as tall as a masterpiece, but many smaller relics of that era, making rank. And not only during the first period The sculptor was carving his Buddhist ideals into wood and bronze, but all along the centuries mastered this art. The thousands and tens of thousands of images and statues found in the temples, the temple grounds, along roads and highways, in cities, towns and villages in the valleys, hills, mountain sides and mountain peaks - all these are the work of artists Buddhists (Izutsu 101).
If Zen Buddhist ideals have guided the chisel and the knife, which also inspired the pen and brush. In a land of natural beauty, such as Japan, one would naturally expect that the painter was inspired largely by a wonderful environment, but instead that virtually all of the major schools of artists were inspired by masterpieces made by Chinese Zen Buddhism. Thus, a student of the subject, says that "you can ensure that not one in twenty of the outputs of these painters, who until now considered to represent the true spirit of Japanese art, was inspired by the works of nature as seen in your beautiful country itself. "(Dumoulin et al 88). In fact, the same abandonment of perspective in landscape painting and the" mountain impossible " these are well-known characteristics (Eliot 76). Maybe the most exquisite landscapes of Japan has made the artist's despair whenever it occurs on canvas, and so instead he only meant to suggest that, leaving all but a few strokes marked in bold lines to be supplied by the imagination.
Zen can be a religion without being religious. The Zen quality of life thrives on indirect, but obviously not going sinuously. This may explain the love of the dragon, lurking in miniature bronze on small islands in the gardens greater in the eaves.
The oldest painting in Japan, dating as it is believed from the seventh century, is a decoration mural at Horyuji, a Buddhist temple near Nara (Dumoulin et al 121). Virtually all schools leading up to today had its birth in a Buddhist environment. Thus, the great painters, Cho Densu and Josetsu, the most famous names in the most glorious period of Japanese painting were Buddhist priests (Izutsu 45). Large men who followed them and founded independent schools, all remained true to the old traditions and preferred models introduced from China by Buddhist monks from age to age the model infinitely more perfect than nature itself supplies all the artist in Japan. Thus, while Zen Buddhism was created and nurtured the art of painting in Japan, but also can be said to have prevented further development which has imposed a slavish adherence to classical models Buddhists, and only once then the artists have been able to break this tyranny, and painting, as we really saw with his own eyes (Eliot 98).
The influence of Zen Buddhism in music the most subtle of the arts, it would be hard for anyone not a true student of oriental music to estimate. One of the foremost authorities on the issue of scale in Japanese music says comprises "five notes of the harmonic minor scale, the fourth and seventh omitted, because, as there are five recognized colors, five planets, five elements, five organs and so on, must also have five notes in music. "(Dumoulin et al 99). Being in the minor key writing the keynote is that melancholy and despair, not of joy and victory. Because of this, Japanese music, either influenced by Zen Buddhism or not, after all, a real expression of the pessimistic philosophy of life which Zen Buddhism is the best formula. On the understanding of this philosophy of life grows, ears also to be more sympathetic to his music, and especially to the ears of a clear answer to the Japanese Buddhist instrument, ie the rich, soft tones the temple bell. Thus, "The suspension of Japan bell gives birth to a voice of the most exquisite sweetness and harmony - a voice that enhances the beautiful scenery and seascapes through which the sweet notes floated in solemn autumn nights, and in the stillness of midday summer haze. The song of the bell can not be forgotten by those who have ever heard. His notes appear to have arisen from the eternal stillness of Buddhist paradise, and who have gathered on his way to the ear human, echoes the sadness that prepares the mind for Nirvana. "(Eliot 143).
Japanese poetry also shows the influence of Zen Buddhism. It may be difficult to prove that the form of poetry has been influenced, but its contents reflect all aspects of Zen Buddhist thought and ideals. This is particularly true of short verses called Tanka, consisting of no more than five lines and thirty-one syllables, and even more of the hokku, which consists of only seventeen syllables (Izutsu 75). These poems are really more like epigrams and so are suitable vehicles for feelings too deep for thought or ideals too high for many words. The favorite theme of these poems are "the flowers, birds, snow, the moon, the falling leaves in autumn mist in the mountains... And brevity of human life, but the point of view that these are usually treated by Buddhists (Eliot 70). Thus, the favorite cherry blossom is the symbol of courageous gentleman who does not adhere to this selfish life, the moon is the symbol of which are subject to change everything, the falling leaves of autumn at the point the way lifetime, and the brevity of human life is, of course, once again the recurring note in Buddhism, and the short stanza is particularly suited to give expression to a sigh on the transience of life.
Even the theme of love is treated in Japanese poetry from the standpoint of Zen Buddhist doctrine of Karma. So imagine lovers themselves to be for others because in his preexistence Karma had loved, and that joint suicide so popular in this land are often inspired by the idea that the law of Karma will bring the lovers together in a future existence on terms more favorable than the current (Izutsu 134).
Then, a form of poetry, is distinctly Buddhist is Buddhist or hymn Wasan. Wasan Although not normally considered very important as literature, occasionally these hymns rise to high levels and not compares unfavorably with Christian hymns and song lyrics (Dumoulin et al 95).
But if the influence of Zen Buddhism in Japanese life has been strong in the field of art, has been even greater in the field of philosophy and religion. In fact, it is doubtful that Shinto would have survived if it had been contested by Zen Buddhism and not included in it, because Shinto was too early to have more satisfied growing intelligence of the Japanese (Eliot 77). The victory of Buddhism could have been delayed, but would have been inevitable. And Confucianism also gained dominance in Japan largely because Buddhists spread. It was driven by them, since it complements the Buddhist teachings, especially in the field of practical ethics. So, as we have said, both Shinto and Confucianism had its place in Japanese life largely on the terms set forth by Buddhism. This, of course, in turn affected Zen Buddhism and did so very different in Japan from than it was in other lands. But even the genius of the religion of the Japanese people, especially in the intellectual and philosophical aspects, has been for centuries and still it is now, more Buddhist than anything else.
What, then, are the main contributions to the distinctively religious life of Japan, Buddhism Zen has done? First, Buddhism and extended high conception of the divine (Izutsu 85). Shinto rather referred to polytheism, and the Japanese still had not advanced to the idea of universal or all monistic. The elements of monism or monotheism found in the current Shinto were not there when Buddhism arrived to these shores, because, as noted above, not until Buddhism had made itself felt, there was even an attempt to build the various legends and myths of the native religion in everything connected and motivated (116 Dumoulin et al). But it is the very breath of Mahayana Buddhist philosophy to reduce the plurality of being to establish a Divine, and in respect of myriad individual gods and somehow the expression of the All-One (Eliot 45).
It is true, of course, that in Buddhism popular Shinto gods polytheists and other faiths that has always played an important role, but even so, one must admit that Zen Buddhism gave the Japanese a higher conception the ultimate source of all reality that Shinto (Izutsu 57).
Secondly, Zen Buddhism greatly expanded conception of human destiny. The ideal early Shinto was very little beyond the conception of man as a creature of sense experience. The gods were implored or contributed, to enable them grant the supplicant what he wanted for a prosperous and happy existence. And happiness of existence not so much in the context of a rich program of personality, as in the realm of things that satisfy the desires of the senses. What lay beyond the realm of the senses or the moment when the sense organs are dissolved in death, did not refer to both Shinto principles (Dumoulin et al 59). Zen Buddhism, however, Japan taught that man's present life is no more a moment of its existence and that real life is more than the life of the body. Although the doctrine of non-reality of the self, Zen Buddhism has impressed through his doctrine Karma, the thinking of far-reaching effects of psychic forces in human life. He taught the Japanese to think of all things and considering especially the individual human life in relation to past and future.
Thus, both minimized and magnified man's place in the universe. Minimize the man he was to him as a fragment of the Whole. But human life magnified when it became clear that this small fragment may be their fate is wrapped with the fate of the great whole. To be sure, Zen Buddhism do not always have a clear idea of what this destiny might be, and often seemed to be the destination of emptiness But occasionally, at least, the man held out hope for a future life, that was really inspiring (Izutsu 74). And even in neighborhoods with the hope of a great future not emphasized, or when he fell between the large uncertainties, the importance placed on Buddhist thinkers carried with it's own culture through the implication of the idea of a higher destiny, as one's own culture, if at the end of the road was no real positive purpose? That is, schools of Buddhism Japanese apparently denied the afterlife, after all, handed him a kind of desired future for the individual and thus ennobled the concept of destiny man.
A third major contribution that Buddhism was the religious and cultural life of Japan is the conception or conceptions about how man can get to its highest destination. What were the perversions of these concepts - the largest Buddhism has always insisted that it must be through obedience to the truth. The man should know the truth and the truth will set him free from the shackles of his car just in the freedom of something bigger (Eliot 132). The doctrine of Karma, that is, all by thought Buddhist, on his best side means that this universe is the law. To know this law is to know the truth, and obeying the truth is that they become above the law, or rather to direct operations of the inexorable law so as to bring man to a better and fuller life. Thus, Buddhism has always upheld the concept of a universe of law rational man must obey if she wanted to move to a larger life and nobler. This idea of obedience to the truth, of course, leads us to the moral and ethical of life in Japan.
Zen tea-cult invented long permeated Japanese culture, after taking the grueling practice of Zen meditation, A soft and soften so that it can be enjoyed by everyone, extending a mild degree of aesthetic, moral and religious benefit of sitting in silence. The teahouse in his garden is thatched and weather, lack of ostentation ones. The influence of the prevention of duality between the natural and refining has kept Japanese homes close to nature and love of wood, taking the outside through sliding walls, indoors and outdoors. The half-dozen guests held a cottage tea cleanse their hands with a pot of water Shinto dripping on a stone a hollow bamboo pipe before it enters, squatting through a low door that does the same (Izutsu 163). On the inside door is to be a Zen saying, in so archaic and calligraphic characters that few can read them without being told what they are. Burned on a board who can say: "Bamboo is green, the flowers are red," or something like "Water is water," to express the feeling that things Zen as they are, and that's good (Izutsu 165). Above laid bare branch in the bedroom, will hang a roll with a black ink painting of a landscape slightly suggested, in one of the four seasons, and a short poem in agreement. The lines and painting, illustration and are mutually supportive, are made with similar strokes. Writing in the book, thirty-one or seventeen syllables, is condensed as a sonnet, only suggests a picture and a thought. The shape of the brush is as important as written. I
In the Japan to learn to write is also to learn to paint, and people may spend his life practicing and improving their strokes, making them his own. Patient discipline is the price of spontaneity sought, as all training is Zen simplicity. Any difference in the thickness and thinness of the line, the force and delicacy bending and straightening, is endless. Strict characters are the hardest, which hides the complexity. So Zen permeates the media. Sea what it says, first of all is (Izutsu 178).
While tea to guests sit in silence admiring the book and the provision of a flower or branch. The owner house comes through a low door, and set the tray to slide the door. Their movements are to be appreciated knees and delicate handling utensils in the correct order: the material, the box of tea, bamboo whisk. The bubble tea with the sound of flowing water, or a breeze in the pines. The sweets are gone. The climax of the ceremony comes as the guest of honor is served a dish that was first offered to the friend on either side, then look capable, but not too high, not to the risk of a landslide (Izutsu 117). The bowl must be old, bored with a charm, maybe a little rough and asymmetrical, but robust and with a history of other owners (Izutsu 118). After turning right and left, the guest has the first of his three and one was down the middle of the green liquid foam. Little was said. It is something as a communion service without a priest, except for the hostess, an intimate exchange of meditation and some food and drink. Medieval warriors are in this ceremony, a welcome respite, as business people today.
The spread of Zen in this way compensates extremely accessible and friendly remoteness of the monasteries and the relegation of the temples. Centered in the cups themselves the developed ceramic art, flower arranging, poetry, calligraphy and painting have been motivated so it is visible in the bedroom, architecture and landscaping have left the tea house and its surroundings. Using the central experience of preparing and eating food, Zen Japan civilized.
Thus, Zen Buddhism was both a vehicle of a superior civilization and itself the expression of the civilization of its kind in Japan. Naturally its influence in the cultural life of the nation is incalculable. So the first really profound influence that is exerted on Zen Buddhism Japan Japanese is that it encourages people to think more deeply about the problems of human life. With the arrival of Buddhism in the Japanese language was raised in a real means of education and culture. A large percent of the current vocabulary of Zen Buddhism came directly, or that of the Chinese to give an adequate expression of new ideas which came on the train of the new religion. The spread of the art of reading and writing, and therefore education in general, was largely due to the influence of Zen Buddhism. Zen Buddhism elements are present in the logic of Japan, psychology and philosophy. And what was true in the early days he remained faithful for centuries, namely that everything that the Japanese knew of philosophy and science are due in large part to Zen Buddhism. This explains the intellectual development by the fact that when Western culture came to Japan at the time modern, the Japanese were able to assimilate such a surprisingly short time, and today there are Japanese experts in all fields of learning, they can keep their own students of any nation. In short, Japan has been a literate nation for centuries and Zen Buddhism owes a great debt for most of this culture.
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